Cerca:put it on

Beacon Sound and Jacktone Records are pleased to announce a limited edition joint vinyl release by Hugo RA Paris titled Threaded Habitat. The new LP from Paris follows two of Jacktone’s most popular releases: Mystique Youth (2015) and Horizons Beneath The Surface (2016), which appeared under his alias, Lavender.

The transition to the Hugo RA Paris moniker with this album marks a more personal shift in approach. Threaded Habitat combines ambient textures and techno rhythms to reflect tension between humanity and nature—particularly the cyclical nature of collapse and renewal. It also marks Jacktone's first collaborative release with the record store and label Beacon Sound, which has put out works from veteran experimental musicians like Terry Riley and Colleen. Beacon Sound is an important node in Portland, where Paris also lives and developed the flagship modular product for leading Eurorack manufacturer 4MS: the SWN.

The album's closing track was entirely composed on a SWN prototype and recorded in one take. In fact, much of his work is done in layers of single takes with minimal processing to preserve its raw emotion and embrace minor imperfections. As an MIT-trained engineer and physicist, working with hardware—from modulars to guitar pedals and tape loops—is essential to his process of not only making but exploring sound.

Threaded Habitat captures moments of claustrophobia and bliss in seven tracks and three accompanying videos directed by New Zealand artist Sam Hamilton. Visual art plays a central role in many of Paris’s projects, which include intricate audio-visual performances and scores for full-length films like The Modern Jungle (La Selva Negra) and its forthcoming follow-up.

The LP will be available to pre-order on July 1st with a limited, exclusive content sample pack. The handmade vinyl package features photography by Sam Hamilton and will be released July 19 through Jacktone and Beacon Sound’s webshops, with worldwide sales beginning August 2nd. A remix release will arrive later in the Fall.

Hold The Sun is a talented electronic music act based in Sweden. New to the scene and making quite an impact, while the artist wants to stay as anonymous as possible, her otherworldly electro and colorful appearance on stage are creating a stir that's got people talking.

For her debut longplayer, Hold The Sun has put together a mixture of deep electro beats, thick analogue basslines and a rich retro feel to the production and synthwork. Wrapped in the hypnotizing format of melodic minimalism over a variety of tempos and vibes. This stylistic edge is combined with a flair for deep storytelling in some tracks, John Carpenter-esque melancholic synth work and even a meditative ambience on occasion. It is this breadth of sound which truly showcases her talent.

An LP that feels like a ceremony of hypnotic sounds and retro-tropical electro beats. Begin the spiritual journey - Join the dance!

We adore Big Star and Alex Chilton more than words can express. Being able to present two of Alex’s staggeringly beautiful demos on vinyl for the first time (on a cute picture sleeve 7", no less) is an absolute honour for us at Be With.

“It Isn’t Always That Easy” and “If You Would Marry Me” both sound like templates for some of Alex’s best-known Big Star numbers. These demos come from the transitional recording sessions he made with Terry Manning at the Ardent studio in 1969, but were missing from the vinyl version of the wonderful Free Again compilation that was released in 2012.

Caught between the end of the Box Tops and the birth of Big Star Alex’s song-craft was already remarkable - as these demos prove - and this release represents a fascinating, exploratory period in the career of one of pop’s most enigmatic talents.

“It Isn’t Always That Easy” is the real knockout. A tender, acoustic ballad that, stylistically, could have appeared Big Star’s “#1 Record”. Yes, it really is that good. A deeply affecting, ruminative lament that explores the ravages of Alex’s short career to date, it is also one of the sweetest and most delicate melodies he ever wrote. A song this stunning shouldn’t just be kept for the Big Star completists.

Over on the flip, “If You Would Marry Me” finds Alex in earnestly romantic mode. It’s just him and a piano, albeit one that is played in a poppy, uplifting fashion to complement the optimistic mood: “I could make you feel so glad inside and so alive” he confidently declares. It’s quite the gem. It really should be mandatory for this to be played at every wedding.

Unfortunately there seem to be no photographs of Alex from around the time he was making these recordings. But luckily we were put in touch with Pat Rainer who was photographing the Memphis music scene that Alex was still part of a few years later.

Happy to be described as “a friend with a camera who was hanging around”, Pat’s candid pictures of Alex included one of him asleep on the floor of the Ardent studio. Even though the photograph was taken 9 years after the demos were recorded, we think this intimate portrait makes a fitting cover for these equally intimate songs.

‘One of our favourites’ iD Magazine

‘Mesmerizing’ The Guardian

‘Keep an eye on this guy!’ - Gilles Peterson


Catching Flies’ music draws from a wide-ranging palette of influences including jazz, soul, hip-hop, house and electronica and has previously seen him handpicked by Bonobo to provide support on his World Tour. Over the past few years, his music has gathered the support of Gilles Peterson, Annie Mac, Lauren Laverne, Julie Adenuga & Huw Stephens, critical acclaim from the likes of iD Magazine, The Guardian, Dazed & Confused, and Nowness, and a growing fanbase which has seen him perform both Live and DJ sets across the UK, Europe, the USA and Asia. This has culminated in over 60,000,000 streams to date.

Catching Flies is set to release debut album ‘Silver Linings’ on 5th July 2019. Containing shades of house and jazz, to hip-hop and electronica, ‘Silver Linings’ is a melodic mesh of bright electronics and intricate rhythms. It’s a beautiful, moving record, with sounds that unmistakably come straight from the heart.

Producer, multi-instrumentalist and DJ George King began Catching Flies in late 2012, when he recorded and self released his first two EPs. With huge radio and press support around the world - including multiple #1’s on Hype Machine, BBC Radio support from Gilles Peterson, Mary Anne Hobbs, Lauren Laverne, Tom Ravenscroft, Nemone, Annie Mac, Huw Stephens; praise from i-D, Dazed, The Guardian, Complex, Notion, The Line Of Best Fit, Clash, Dummy and more - he’s since attracted millions of listeners.

Against his instincts he signed with a big management agency and got talking to a label: it almost derailed his career. He explains “What I'd found so inspiring originally was the total freedom to make a tune on my own terms and just decide to put it out the next week. There was a hunger that came with that, and a sense of achievement from being the driving force, but as soon as I tampered with that ecosystem, it wasn't as exciting anymore”.

Touring with electronic music giant Bonobo - who also included him on his BBC Radio 1 Essential Mix - allowed him to watch up close someone who had taken a slow and steady path from tiny clubs in Brighton to arenas worldwide, and see it was possible to do without any compromise. After being teased through a succession of warmly received singles this past year, and seven years on from that first EP recorded and released from his bedroom, his debut album ‘Silver Linings’ is now ready to be revealed.

“It's taken me a while because I didn't want to speak until I had something to say. I wanted to make something positive, hopeful and colourful...The world isn't in the best place at the moment, and the last thing it needs is another dark and moody electronic record. I wanted ‘Silver Linings’ to be a scrapbook of the last three years. It’s definitely eclectic, and it’s supposed to be. Over three years a lot changes, your perspectives change, your tastes change; and I wanted to celebrate that by picking tracks that meant the most to me. One of my favourite things about making music is that it takes me right back to where I made it - the keyboard I used, the chair I was sitting on, the room I was in. It kind of teleports you back to a certain point in your life. A bit like a diary entry.”

Recalling those moments brings back a range of memories: ‘Satisfied’ began by being tapped out on a £15 keyboard bought from Kentish Town Cash Converters, ‘Yǔ’ was made in the mountains of China during a few days off from touring, while an evening on Hampstead Heath inspired ‘Kite Hill Theme’. Also featuring on the album is ‘New Gods,’ a collaboration with London’s bright stars Jay Prince and Oscar Jerome and the beautiful and meditative ‘Opals,’ inspired by the likes of Ryuichi Sakamoto and Alva Noto.

Catching Flies is already looking to the future, closing the first chapter in an exciting and inspiring story, ‘Silver Linings’ is only the beginning.

“A few weeks after I finished the album, I moved out of my house I made all the music in, so it feels like the closing of one chapter and the beginning of another. I can’t wait to make the next one now.”

In the early eighties, Edmond Mondésir, professor of philosophy and Léon Bertide, trade unionist, founded the Bèlènou group. They were actors of the great agricultural strike of 1974, which resulted in the death of two workers (Ilmany and Marie-Louise) and left many wounded. Activists of the patriotic movement Asé Pléré An Nou Lité (Stop crying, Fight), they were part of the identity and the cultural affirmation la revendication identitaire et culturelle of the time. Like the Guadeloupean musician Gérard Lockel and his work on the Gwo Ka, they put the Bèlè, in its traditional form, back in the spotlight during Swaré Bèlè (Bèlè nights).Minimalist and spiritual, a true rural ancestral art from Martinique, the Bèlè combines dance and music from responsorial monodies, which is a choir that responds to the lead singer (Respondè / La vwa dèyè), on codified drum rhythms and ti-bwa (2 sticks that hit the back of the drum or a piece of bamboo). It comes in a series of collective choreographies, working up into the trance. The texts are simple, short and tell the story of everyday life and struggle. While preserving the emotion and the drum’s central place, the fundamental contribution of Bèlènou is to keep the traditional form of Bèlè while adding a modern instrumentation: bass, guitar, saxophone, drums...
Emosyon Tambou-a (Emotion of the Drum) was released in 1990. This third opus of the band expands the musical spectrum in harmonies, arrangements and influences to create a contemporary music anchored in the Bèlè matrix, while keeping the beat, the energy and ancestral roots of music. Bèlènou adapts some classic rhythms: Bélya, Gran Bèlè, Bèlè Pitjé or Ting-Bang rewritten here for an orchestra.With the appearance of long couplets and a complex harmonization of the choruses, Bèlènou's music brings a form of modernity, it opens notably to jazz territory as well as to other forms of music and grooves. Also, Bèlènou leaves the musicians with space for improvisation: not only on the saxophone or the guitar, but also with the drums (cleverly adaptating traditional rhythms to the drums).

The texts sung in Creole are of a social nature, appealing to the solidarity and self-denial of the people (Bélya pou péyi-a, Tout pèp-la sanblé), to the struggle for political emancipation towards a new democracy (Wi ny ké rivé, Ni dé jou, Démokrasi); land protection (Sové tè-a); finally, to the vitality of the Bèlè culture ... (Emosyon Tambou-a, Dansé Ting-Bang)...Culture participates, according to the expression of Aimé Césaire, as "Miraculous Weapons". Bèlènou sings a project of a new and united society. A precursor group, experimental in the its early years, Bèlènou reconciles with talent tradition, modernity and cultural identity.

Lovely crafted tip-on sleeve. Remastered. 700 copies

On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

Maybe the best Alessandroni's album ever. A true holy-grail for any collector and worldwide music lover, which we can consider nowadays as the most sought-after record of the whole legendary RCA SP 10000 series, and as the rarest album from the king of Italian libraries.

Jazz, mellow-funk, downtempo breaks, and incredible rock blends, make this record a refined portrait of the 70's American way of life, viewed through the fully Italian lens of Alessandroni's sensitivity.

The magic around Spontaneous is that this album is not only beautiful and astonishing, but is certainly on of those amazing records to which time gives new life and freshness, making it sounds unbelievably contemporary.

After five years of exhausting research, finally Four Flies can give a light to this obscure and fascinating mystery, rescuing it from the darkness. It's not just another piece of Alessandroni's legacy that is finally put back in the right place. This should be considered as the definitive act to re-estabilsh Alessandroni's leadership into the library music scene, and beyond.

Available again from July 19, coming in 180gr black vinyl, housed in a hard tip-on sleeve cover.

Limited Edition 500 copies, don't sleep!

“In October 2018 we took several recordings in and around Eddie Prévost’s home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie’s own take on Locke that he offered in our correspondences:

“Scholars of Locke’s philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such ‘mixing’ is a persuasive description of a creative act. But the theory is more worthy of a social dimension.” As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its ‘metamusical’ relationship with the untempered sounds of the external environment.

Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike ‘protomusical’ behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development.

Ross Lambert provided a few words along side his cover drawing entitled ‘The Metamusician’: “The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.””

- Daniel Kordik & Edward Lucas, March 2019

Juan Ramos opens his debut album with The Problem With Ambiguity and Finding Space—speaking to a societal confusion, a fragmented sense of self, and a pull toward many (often unwelcoming) directions—this turmoil in which he’s spent considerable time, sees him invest grave efforts to express the inexpressible. Changing Hands is a time capsule of that dark period in his life, an overtly honest musical diary which puts his emotional coming-of-age on full display, hoping to reach kindred listeners. While his previous output for the ESP Institute used a certain level of complication to push limits on the dancefloor, this immersive work cuts deep in to a frayed psyche, dismantling our preconceptions of Juan and plunging listeners deep into a stew of jarring textures, incomplete phrases, and circus-like abstractions of pop culture. There is a nonchalant and unhurried experimentation that accumulates over the album’s first half—disconnected and anxiety-riddled personality traits constitute various musical roles, sporadically converging in fleeting moments of optimism although never fully climbing out from the abyss—and yet amidst this chaos there is a watershed moment in which the artist successfully gleans a golden morsel of hope from his emotional junkyard, guiding us across the threshold into the album’s second half while diligently protecting the glow of this rock bottom treasure. Juan begins to reveal his inner b-boy—a distorted view on golden-age Hip Hop roots, an affinity for muddy break-beats, sultry loops and metaphoric interludes—the crown prince of a newly-found safe space. It’s as if he had us searching on all fours for a misplaced joint, but now that it’s finally lit, he assures us that everything’s going to be alright.

Direct and simple: Christian S embarks to Permanent Vacation and brings five house-not-house tunes.
The bitter gloomy title track “Tannin” vibrates with a dry bassline over which an acid-flavored synth-line
arguments with higher hi-hat spirits. Matias Aguayo added his very special ability for creating haunting
chords and drums to the tune “Dancer” and transformed it together with Christian S into a nervous
house sensation. In contrast, Cologne DJ and producer Korkut Elbay also did some twists on
“Dancer”. His edit concentrates more detailed on the witchy chord construction. With Columbian
producer Sano Christian S puts his love for percussive spheres on the table and created a tune that is
made for magic floor moments, when all dancers melt into to one entity. Finally, the enchanted solo
track “Passant” wafts gently while a nervous melody haunts the listener. It rounds up a free spirited,
percussive, edgy yet catchy EP that is made for all circumstances of the night.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

After the last press by Swoy, we're happy to scream that we've reached the 8th level with a massive release by the Italian crew Unknown Collective made by the mind of Fulvio Ruffert.


Fresh from a lot of vinyl release this year and here we can feel their capacity and flexibility in the studio. First track "Func" is a minimal - deep house influenced track with a cool bassline fit for heating the dancefloor. After the original version we have the remix from the famous French duo: Politics Of Dancing. They put their proper touch into the track by giving a rough sign to the bassline. On the B-side we find another original track; "Zolfo" is a Chicago-House-Acid track that remember us the sound of the big Brian Harden. The last but not the least is the collaboration with mister Earlydub: Loquace. This one is a massive and fresh work bringing you inside a tunnel without any escapes.

As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

The NMB Allstars have been part of the SKAM family for nearly twenty years. Initially as DJs then as producers, they beguiled us with their dub-informed rhythms and caustic beats. When they first put their Bug EP together at the back end of 2001, we discussed what might come next – a plan for five 12” EPs before an album, not realising it would take fifteen eighteen years to get to number five... but, here it is, the 5th of 5, NMB005 the GazOhmEater EP.
The pattern of releases has played with titles and logos of UK nationalised industries – Bolton8 (002) referenced Altern-8 and the Greater Manchester Passenger Transport Executive, NWH20 (003) North West Water. and Mancweb (004) drew on Manweb, a local electricity provider. For this final EP Acid and Gas are the go-to aesthetic narcotics. Along the way the 12” series had guest appearances from Meam, Made and Pendle Coven, part of the NMB extended crew.
These days neither of the two founder members locate themselves in urban situations, preferring to retreat to the hills spending hours on the moors of the Pennines. Even these landscapes are punctuated by infrastructure,
be it pylons, reservoirs or tunnels, and the resonant hums, filtered through peat bog and horizontal rain can be sensed in these new tracks put together slowly over the last seven years. NMB stated from the beginning that their “output was not controlled by time” - how right they were.... They have said the album should be ready in 2028.

One of the UK’s finest home grown talents are back with new music on their own label since the release of ‘Late Night Party Line’

The killer lead cut ‘Big Wig’ takes us all the way to the late-night discos of NYC and right back to Europe via London and Berlin. It’s richly melodic, sizzling with promise and packed with PBR goodness, and easily their biggest record since ‘Late Night Party Line’.

The remix from Donald Dust adds some classic New Order-esque club sheen but fully updates for contemporary floors, while ‘Shooting Star’ with its nod to F G T H, is an equally incisive club burner which puts PBR right back where they belong, in the middle of the dancefloor.

Rotciv is the Brasilian born, Berlin based man behind Mister Mistery records. This prolific producer has been out there for quite a long time and you might remember "The Rimshooters", the long lasting collaboration with Massimiliano Pagliara himself. Now it is time for Rotciv to offer a piece of his synthesisers' craftsmanship to Funnuvojoere Records. This five tracker EP expresses Rotciv's skills with harmony and music progression. A1 AWAKENING starts off with a piano house arpeggio and slowly evolves into a trance acid-tinged explosive motive. Organic feeling drums develop giving it a disco touch that will put a smile on the crowded dance floor. A2 GOOD SPELL combines a pure cosmic style with a New Beat-like dissonance and uplifting vocals. B1 KNOW THE UNKNOWN keeps the experimentation levels high with distortions and an 8bit dialogue that drifts into a progressive-kind of sound. Deeper than the rest B2 puts on stage a dark landscape that reminds of a black and white vampire movie. B3 INTERMISSION follows up and gives the final ambient touch to this delightful EP.

Borneo’s eighth release brings a sweet little five track compilation of eccentric and exotic electronica. All music is lovingly composed and constructed by the label’s family and close friends.

Ultrastation is the lovechild project of Cosmic Force and Nuno Dos Santos. Their Eau De Voodoo kicks this EP off with a fire starter made out of driving afro rhythms combined with mesmerizing vocal samples.

Phones On Fail Jah by Fader sees a quirky digital take on digidub. Centered around filtered chords, a deftly curated selection of melody and percussion is put through its paces.

The enigmatic Fizzy Veins poured his hart out on the song Handbrake. Guitar play over a subtle synth line, all sprinkled with fragile vocals that are almost drowning in the sea of echoes that lies underneath.

Rotterdam’s Nous’Klaer mainstay Mattheis has contributed V21. A stealthy weapon with synth driven melodies and electronic rhythms that are slowly morphing in and out of each other. This will hypnotize any dance floor.

Samo DJ closes the excursion with a remix. He handpicked OVFiets from the Borneo vaults, an unreleased techno work out by party crew Marck. Samo’s version brings the original in a more airy, wholesome and percussive state of mind.

The Jazz Diaries is proud to announce NYC’s favorite underground papi Toribio will be releasing his sophomore EP June 14th 2019. Hot of-the-heels of his Gator Boots 12” for Soul Clap, which received hands in the air support from Seth Troxler, Adam Port, and Soul Clap, Toribio makes you feel at home in the club with his expressive new EP - Capicua!

Growing up playing Dominican percussion instruments from an early age, and being a staple DJ in the NYC circuit for the last 7+ years playing with a who’s who of DJs (Danny Krivit, Rick Wilhite, Louie Vega etc), Toribio expands the palette of what dance music is, fusing his Dominican roots, afro-cuban latin riddims and 90s hip-hop to create a cultural melting pot that signals a change in the guard for NYC House Music.

As Toribio rightly puts…
“Capicua!” is an expression Dominicans yell as they slam the last domino of a certain hand with belligerent righteousness. It means you win on both sides of the table no matter which way you look at it. Top to bottom. This my musical way of saying in a Dominican style... I won on both sides with this record.

This is certainly true of EP opener ‘Get Up’, which hits you on the upside with a nasty dose of p-funk over a bed of live and programmed house riddims. The record showcases Toribio’s penchant for the funky, yet rhythmically inquisitive. It is this trademark sound that permeates the record and continues its way through the acid tinged ‘Make Your Mark’, where long time friend and collaborator Byron the Aquarius steps in on remix duties - providing a lush reprise from the frenetic afro-cuban percussion found in the original mix.

Last but not least, Toribio rounds of the EP with a sensual, take your girl home cover of ‘Household’ by Totally Enormous Extinct Dinosaurs. The tune showcases the broad depth of Toribio’s musical portrait, prominently featuring his voice and guitar, further giving credence to the musicality and diasporic nature of the new Nu York, and further cementing Toribio’s place in it for years to come.

JakoJako makes her debut on Leisure System with Aequilibration, an EP of diverse, experimental tracks aimed at the dancefloor.

In F22.0, waves of paranoia break over driving, asymmetric rhythms, offset by soothing, whispered vocals. Kogn. Dissonanz maintains the tension, making clever use of polyrhythms and blasts of machine gun fire. The B-side takes a more hopeful turn with Resilienz, where warm oscillations cluster around a simple but effective groove, and the restrained cries of Katharsis close the EP with powerful intimacy.

Self-taught and primarily a live performer, JakoJako makes extensive use of modular synthesis in her productions and on stage. ”Depending on how you configure your system, you can design a completely different instrument every time. I love when it’s surprising me.” When not in the studio, her expertise is put to use advising well-established artists on their own systems at Berlin’s synth-mecca SchneidersLaden.

With such a raft of quality music coming across the Summer from NuNorthern Soul, we thought we would put together an EP of some of the tracks featuring across the upcoming months...

We have taken our favourite tracks from various digital releases and present them on one vinyl 12" EP On the A side we take Nick J Smith's 'Waves Take Hold' from the Waves Take Control EP'
'Waves Take Hold', is a kaleidoscopic, life-affirming exercise in late 1980's style Italian Dream House, that's so warm and rush-inducing that it's likely to get the hairs on the back of your neck standing to attention.
Full of ricocheting drum machine hits, sun-bright lead lines, elongated chords and rich bass, it sounds like it was tailor-made to soundtrack sunrise in Rimini...

Bonnie & Klein 'Ocean Leap' taken from the Ocean Leap EP
There's a deeper and dreamier feel to the 'Ocean Leap' track, whose bubbly melodic motifs and synthesizer panpipe flourishes offer subtle nods towards 1980's Greek new age electronic composers such as Vangelis Katsoulis amd Dimitris Petsatakis.
Bonnie & Klein's synthesizer-heavy melodiousness comes accompanied by dub disco strength bass and undulating, off-kilter drums, but retains the rush-inducing bliss associated with the pioneering work of their Greek predecessors.

AA is given up to the 10 minute + track from Mirage: 'Endless Ocean' taken from their Reflections of the Sun EP.

'Endless Ocean' is a slowly building masterpiece. After a hushed, atmospheric opening, the track bubbles away on waves of hazy bongo beats, lapping water sounds and seductive chords before rushing skywards in a swarming swirl of trance-style synthesizer lead lines, echoing electronics and picturesque piano motifs.

- One 140 gram RED Vinyl Disc in plain white paper inner sleeve

- 4/color Single-pocket jacket - shared with 093624903444

- 4/c over 4/c Lyric Insert - shared with 093624903444

- 2/c (PMS 186 + Black) 2.0' x 4.0' FYE Exclusive Marketing Sticker

- 1/c (Black) UPC sticker and affix directly on jacket over existing barcode.

Global superstar Michael Bublé is scheduled to release(pronounced love) as his first studio album in two years on November 16th following a two year break from public life to spend time with his family.

The Canadian singer-songwriter returned to the studio with a new perspective on life and a renewed commitment to honouring the music he has always loved.

I didn't anticipate returning to recording or performing and I was fine with that. My entire world view has changed completely these last few years. I wanted to spend all my time with my wife and kids. That was my focus. During that time, I also learned how much love and humanity is out in the world from the prayers and good wishes we received. But slowly, along with understanding what my priorities in life are, I began to feel a new commitment to express the emotions and lessons I've embraced. Whether I am the narrator, the observer, the main character, the dreamer, the broken hearted guy at a bar or having the night of a lifetime, I have stories to tell on this record. It's all there in the songs. I have had so many blessings in life and one of them is that I hold the torch to keep these songs alive for generations to come. I take the responsibility very seriously. My end game for the new record was to create a series of short cinematic stories for each song I chose and have it stand on its own. I'm so proud of what we accomplished,' commented Bublé.

Bublé co-produced his new album and brings new love to several rich classics from the American Songbook. The album opens with the idealistic and dreamy 'When I Fall In Love.' It also includes a haunting take on another Rogers & Hart standard, 'My Funny Valentine.' Other standouts are an ebullient 'When You're Smiling,' a swinging 'Such A Night' as well as Bublé's hand-picked favorites including 'Unforgettable,' 'Help Me Make It Through The Night,' and 'I Only Have Eyes For You.' Two standout tracks are Charlie Puth's swinging 'Love You Anymore' and an achingly poignant 'La Vie En Rose' -a Bublé duet featuring singer Cecile McLorin Salvant. A touching Bublépenned original 'Forever Now' demonstrates his songwriting skills, which were previously shown in such Bubléwritten hits like 'Home,' 'Haven't Met You Yet' and 'Everything.' The album closes with a show-stopping version of 'Where or When.'

was produced by David Foster, longtime collaborator Jochem van der Saag and Michael Bublé. The trio brought Bublé's visions to life with luscious arrangements surrounding his rich vocals. Michael Bublé has sold over 60 million records worldwide, performed hundreds of sold-out shows around the globe, and won four Grammys and multiple Juno Awards during the course of his extraordinary career.

Legendary artist Mick Harris (Napalm Death, Painkiller, Scorn…) kicks off his 2019 with this EP of tar-black, bass heavy sonic violence. This EP features 4 reworks of “Salford Priors”, one of the heaviest tracks from his return-to-form album “Over Depth”, the first by Mick Harris himself, and 3 more by his longtime collaborators in the production guises of Fausten, Stormfield, and Monster X. The EP begins with an apocalyptic, dubbed out violent rework by the man himself, creeping in with a cold, calm eerie drone that quickly goes from zero to 100%, blasting into a full force attack of artillery percussion and strafing, shrapnel textures atop the landmine subs and characteristic Harris snarling mono-bass.

Julien Caraz has caused much distress over the years with the sheer rage and precision sonic assaults of his Monster X project. Here he eschews his usual frenetic tempos for a solid 130BPM, a sleek techno destroyer built for giant spaces and huge soundsystems in mind. The Combat Recordings boss has worked audiovisually with Mick since the Scorn AV at Bangface Weekend in 2011, touring with Fret AV in 2018. Here he switches back into audio mode to rework Salford Priors into a hard electro assault for the Stormfield remix.

Fausten is the shadowy, twisted collaboration between Monster X and Stormfield.
Having released a staggeringly twisted album on the legendary Ad Noiseam, Fausten
went into hibernation as the pair pursued their own projects, with only a few sporadic tracks surfacing over the years. The pair have been putting together an album’s worth of new material for 2019, beginning with a powerful remix of Salford Priors. Taking Fret back into it’s aquatic, fathoms-deep sonic territory, this remix is a behemoth work that moves at quarter-step tempo, allowing for more physicality and dynamics, the profound pulse of each profoundly deep bassdrum like an underwater volcanic explosion, with skittering percussion the resonates in the stillness.

'When you put on the first track on the album 'Antisocial Background 2017 - 2019 by Mythologen your likely to think: 'this is THAT kind of an album', and fell happy with that. But Mythologen aka Alexander Palmestal is not 'THAT' kind of an artist and this album reflects his broad musical background. It spans from Japan to USA, from the 70s to the 00s and from cold concrete floors to fluffy cotton clouds. Palmestal, with a background in bands such as Pistol Disco and Iberia now releases his second full-length album on Hoga Nord Rekords

The album is a play with emotions and genres, with unexpected meetings between major and minor keys and is a collection of tracks where Jungle, Electro, House, Synth and Big Beat are deconstructed and put together as relevant contemporary dance music. The production on 'Antisocial background' sometimes sound like a more electronic version of Boredoms but most of the time it puts the listener on the British isles and in the 90's. Palmestal pays respect to his masters but he is not in any way too careful with their legacy and let, just as on his debut album, influences from the 1970's and 80's Nigeria and Soweto.'

In the previous reissues we talked so much about this fantastic piece and "Marie", a very cinematic and supportive song, that now it is appropriate to dwell on the re-visited version of Danilo Braca that extends beautifully on the AA side of this new remastered reprint. Danilo who lives in the big apple often frequents Ibiza, perhaps also for this he has been able to exalt the most rhythmic elements of "Shadows from Nowhere", putting the beautiful falsetto beats to excessive movements, just like the waves that wash themselves on the sandy beaches of the White Island. His teacher Mario Gentili from Layer Bows added a beautiful arrangement for the strings and his Italian-New York collaborator Alvise Marino spread some fragments of guitar powder on top. That's it. 9 minutes of pure bliss, but also of catchy rhythm!

180g Limited

Life is but an Empty Dream is the seventh full length from long-form ambient composer OKADA.
By pressing play, Gregory Pappas, the man behind the moniker, requires your full attention. Waves of crashing sound swirl around viscus beats and cavernous staccato piano. Sound becomes broken to be reconstructed many times over. This is not the lovesick nor heartbroken OKADA we've witnessed before. This is a cathartic, disillusioned, OKADA, out the other side, worse for wear but building anew.
The proximal six-minute opening to the album expounds destruction and disintegration, chaos and rebirth. The eye of this storm then disseminates wide allowing a female vocal breath to imply "again." Have these destructive waves ultimately lead to pleasure? Or moments of rage that have eventually lead to acceptance? It is evident that there is a need, a yearning, an ache, that percolates to the surface on Life is but an Empty Dream. This, mind you, has all happened in the first ten minutes of the album.
Pappas, as with all OKADA albums, has put every fiber of his being into the creative process. Such focus and shroud that hangs over the album lead us to assume Pappas' is in an antithetical state than the one apparent on 2016's ode to the blossom- ing relationship Love Telepathic.
Life is but an Empty Dream features four long from tracks that effortlessly progress through extended vignettes encompassing ambient, post-industrial, chillwave and even IDM. Life is but an Empty Dream also has the distinction of being the first OKADA album to be pressed to vinyl and will be available on May 24th

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

AKMÊ is now called RODMIN, nothing else is changing.
We’re delighted to present the first full artist-ep release of our resident. With good reason, of course, it could be asserted that this is a great, deep and timeless techno record, which never loses sight of the dancefloor but still is sophisticated enough to listen it outside the clubs.
The first track love has a good acid drive, which—because of it’s echo chamber—will feel more at home at larger floors. The second track of the A-side reflect is a rather introvert and very hypnotic one and according to really lives to its name.
Coins opens the B-side with a heavy peak time breaker, which gives and demands everything! With his riot version, ALEX.DO puts the pressure even higher.
Rave on, ravers!

Still on their six-legged victory lap following the massive success of the Blessed EP, Tiga & The Martinez Brothers look to the outer limits of techno and beyond for the remixes. “Blessed was a baby born of friendship, and you don’t turn your baby over to some dude making ‘dark, atmospheric bangers’ on Ableton. You take that baby, you put on her bonnet and you entrust her to some of the most successful men in the world so you can take your wife salsa dancing for once,” says Tiga. Longtime Turbo target Ricardo Villalobos delivers his personal magic on the remix of “Cleopatra.” This is not the kind of everyday magic you’d find in a kind word from a stranger or the childlike wonder of a child. This is the good kind of magic. Louis Vuitton Creative Director/Off-White mastermind Virgil Abloh, one of Time Magazine’s 100 Most Influential People in the World, was a big fan of “Blessed,” and turns in a remix that is closer to “future jazz” than Tiga would have accepted from anyone else on that list, except for maybe Hugh Jackman. Abloh also designed the artwork for the release, which depicts the fall of man as seen through the eyes of a jean jacket. “I speak for everyone at Turbo when I say we are delighted and honoured to bring these two friends and creative forces into the fold,” says Tiga. “Some people well tell you that hatred and divisiveness are the answers to society’s ills, but I respectfully disagree. It’s friendship that’s gonna see us through. If I can convince two of today’s leading cultural figures to roll up their sleeves and figure out my remix pack, imagine what I could do if given control of a small country. I don’t see any other labels making these kinds of claims, and to me that says a lot.”

Multi-instrumentalist/producer extraordinaire - Flevans has been on fire the last few months. With more plays across the BBC 6Music and Radio 2 than you can count on all your limbs combined, his recent singles have proved to be a huge success on the air-waves.

Following up this early enthusiasm with the stellar LP 'Part Time Millionaire' in March, the album was received very warmly by critics and fans alike.

With source material this good it was time to have some fun and at the end of March we released the undeniably brilliant Art of Tones Remix of Who's Got Me – featuring the brilliant Laura Vane on vocals. Deep delicious disco. That's how we'd describe it but don't take our word for it, listen to Todd Edwards, Bill Brewster, Kraak & Smaak, Hector Romero and Francois Kevorkian – all of whom are supporting it. Or listen to Diplo, Mistajam, Annie Nightingale, and Gilles Peterson who have all supported his past releases on the wireless..

Well good as that was, the fun doesn't stop there as the next instalment of remix magic has disco man of the moment Ray Mang giving the special treatment to It Just Goes (feat. Sarah Scott). He's always been a legend but his re-work of the phenomenal handclap band was THE remix of 2018 for the disco cognoscenti and he has turned in some of his very best work here.

Yes - we like to listen to music online and have the convenience of an endless collection always available but for the masochists who like to break their backs lugging heavy boxes of vinyl round to gigs – don't worry – we got your back (broke) by putting both of these killer remixes on one extremely desirable 12"





[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

The new album by Juno Award and Polaris Music Prize-nominated Canadian soul star Tanika Charles.

Produced by a stable of some of Canada's finest musical minds including among the others Chin Injeti (DJ Khalil, Eminem, Drake, Aloe Blacc..), Record Kicks proudly presents "The Gumption" the awaited new album by Canadian soul star Tanika Charles that will hit the streets worldwide on May 10.

"What gave you the gumption?" Tanika Charles rhetorically asks during the introductory notes of her sophomore album appropriately titled The Gumption. While the apprehensive lover at the receiving end of that inquisition should feel slighted by the remark, it also alludes to the assuredness Tanika has gained since the release of her Juno Award and Polaris Music Prize-nominated debut Soul Run. The Gumption picks up where Soul Run left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. "It's a little more mature. It's not feeling guilty about being up front, not being afraid to address situations that aren't comfortable for me. I'm comfortable in my skin now in a way I never was before. The overall theme is growth. I feel the music reflects that, and my words reflects that. Even the album cover tries to convey the feeling too. I'm not putting up with unnecessary nonsense anymore."

Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, The Gumption was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D'Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs. "I've grown up and learned to deal with situations significantly better. We have a tendency to hold back our innermost feelings for fear of hurting others. Even when we're happy we worry about over-sharing, as if joy is a competition you don't want to gloat about."

The success of Soul Run propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe. "I've been touring, experiencing new places and meeting new people. And in that time also worked on completing this album". While criss-crossing Canada with festival appearances on both the east and west coasts, Tanika also embarked upon four overseas tours for a combined 45 European shows within a one year period. This included performances at the prestigious Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain.

Quintessentials has a long history in putting out those nice little (or sometimes big...) compilations. It was 'deep, raw and real". Then 'thank you freaks". After that 'gentlemen cuts". Now it's 'enjoy your cuppa"! Vol. 1 starts with 4 new and refreshing faces on Quintessentials. Marc Bianco is for sure no newcomer, as he's a part of the famous Moonrise Hill Material crew with Folamour and other top french producers. 'Wet Scott' is a smooth yet freaky tune with tight beats in a best MB manner. For german Effgee, 'feels like ding' is his first track ever released. Happy lad! And we're sure it won't be the last. Italian air man Wearing Shoes is quite new to the scene, but has a quite impressive list of releases already. For Quintessentials, he teams up with...well yeah, Javonntte (check his two Quintessentials releases, 59 and 61). Proper house music guaranteed! Last but not least, Roy Vision (another french artist who just released on Roots for Bloom) goes deep and dusty, with lovely Rhodes and snares! We hope you enjoy your cuppa!

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

After a gap of a few years in between his latest releases (on Terminal M among others) Mar io focuses his attention on his own productions rather than sticking to remixes. He unveils a wonderful EP on Form & Terra Records which kicks off with the title track "Through The Night", a very special acid house smasher which will put every dance floor to a test. Then comes Max Cavalerra who puts the track through some secret alchemical processing and turns it into a dark and more techno-driven tune which is sure to make mind and body move even at 6 am in the morning. In addition, techno legend Patrick Lindsey celebrates his brilliant vinyl comeback with an irresistibly grooving remix which demands your attention with unprecedented drive and gets to the heart of Mar io´s original message "This Is What We're Living For". Last but not least, Mar io himself tops off this extraordinarily versatile EP with a grooving vinyl-only remix.

The Mandatory Eight first appeared on the compilation "Funk, Soul & Afro Rarities: An Intro To ATA Records" released in 2015 on Here & Now recordings with the song "Suckerpunch", which has since become the label's most requested song for re-release as a 45. ATA have dug deep in the archives to unearth two dance-tempo 45 killers to placate the calls until studio time is allotted to the band for a debut album.

The band's sound and ideology definitely lies in less refined eclectic soul. Feel over precision, passion over execution, soul-on-a-budget grooves.

From the opening drum pick up of "Soul Fanfare #3" it is clear that The Mandatory 8 are here to make you move. With proud horn lines reminiscent of something that you might find in the Stax vaults, Soul Fanfare definitely takes it's lead from backing bands such as the Barkays and the funkier side of Booker T and the MGs. One can imagine that this was definitely a set opener for the group, guaranteed to put foot to floor. Guitar and bass have a care free movement and feel, conjuring up tones of late 60's summer soul hits.

The B-side "Turn It Out" has a darker, moodier feel to the previous side. Still a dance floor filling groove, the band take a direction more similar to below the radar funk outfits such as Amnesty or LA carnival. Biting minor horn lines set the tone backed by a bubbling bed of congas, rhythm guitar, unruly bass and drums which don't dip below boiling for the duration. "Turn It Out" features a manzarek-esque farfisa organ solo which sets the sonic tone of a band without funds but with plenty of soul in the bank.

Both sides will reflect well for different moods on the same dance floor.

"kiska" Is The Lead Single Off Kedr's Sophomore Release, Your Need. The Album Is A Celebration Of Life And Rebirth. It's About A Fighter's Spirit, And If You Will, A Little Audacity And Courage. Dj'ing And Early Forms Of Dance Music Inspired A Furious Burst Of Creative Energy After Months Of Melancholy, Sadness And Reflection To Record The Album In Only A Matter Of Weeks. After Her Breakout Album, Ariadna, Which Put Her On The Forefront Of Russia's Burgeoning Electronic Scene, Kedr Felt Lost With Her Identity And Was Searching For The Direction Of Her Next Chapter. For A While She Felt Trapped By Her Own Image And Needed Quite Some Time To Resolve This Internal Dissonance - To Grow, To Evolve. Dj'ing Was The Main Catalyst To Pull Her Out Of This Rut. The Art Form Shifted Her Inspiration To Mainly Old School Styles Of Dance Music: Ghetto, House, Breakbeat And Uk Garage. For The Prior Year And A Half She Was Listening To Ambient, Kraut-rock And More Experimental Genres - One Can Hear The Brighter, More Energetic Influence Of Early Electronic Music In The Songs On Your Need. One Day She Was Talking With Her Friend Flaty (zhenya), A Very Talented Artist From St. Petersburg Who's Signed To The Gost Zvuk Label, And They Decided To Do A Single Together. He Came To Visit Her In Moscow, But They Ended Up Spending 10 Whole Days Writing Music Together, From Dawn To Dusk. They Vibed Off Each Other's Musical Ideas Perfectly And Understood Each Other Even Without Speaking. Zhenyais A Beatmaster And Pays Attention To Even The Smallest Details Of A Track. He Brought Incredible Richness To The Composition And Kedr Considers Him Her Teacher In This Area. Kedr Was In Charge Of The Melodies And Vibe Of The Tracks, And The Vocal Elements. Your Need Is Like A Chapter Of Life. It's A Story That Illustrates Different Scenarios And Moods That Our Mythical Hero Experiences, Living In An Urban Jungle. From Lost Love To A Bad Trip On The Dance Floor, From Euphoria To Deep Introspection. Our Hero Sometimes Feels Bold, Lost Or Devastated, But Also Tender And Full, Like All Of Us At Some Point In Life. The Ending Is Joyful And Bright. The Last Song Gives Hope And Faith That A New Day Will Come And Wash Away The Old. You Can Feel Like New Every Day. Your Need Reflects An Array Of Genres And A Mix Of Cultures - A Harmonious Combination Of Differences. Everything Kedr Loves About Ghetto Music, In The Traditions Of House, Dub, Breakbeat, 90s Electronic Music And Modern Sounds - She's Embraced And Expressed It All Throughout. Your Need Is Kedr's Ode To Music From Different Eras And Changing Periods.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists", which consists of 4 LPs in total.

Disc 3 reunites the couple with their old friends and collegues, the swedish musicians from Tape, they concentrate once more on their very own language of making music, and give us another collection of essential tenniscoats-songs.

With the forth LP, there will be a strictly limited box available, either for putting your already purchased other 3 records in, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester